105 on the basis of photographs. Stevens went along with all these stipulations, and it is perhaps an indication of Ste- vens' extraordinary skill as an arts ad- ministrator that not one of Geldzahler's grants-most of which went to artists who could hardly be described as con- servatives, artistically or politically- caused so much as a ripple of protest in Congress. Moreover, when the first National Endowment grants were an- nounced, in February, 1967, the editor of Artnews, Thomas Hess, who had never been notably sympathetic to Geldzahler, wrote a glowing editorial in which he called it "the best list of grants. . . we have ever seen in the field." Hess said that the money had gone to artists at a point in their careers when it could make a real financial or psychological difference, and he char- acterized the enterprise as "a major contribution to our culture." Several other National Endowment programs owe their inception to Geld- zahler, among them a series of match- ing grants that enabled fifteen regional museums to spend a total of three hun- dred thousand dollars to buy works by living artists, and his energy and initia- tive are still looked upon with admira- tion by his successors in Washington. Geldzahler did not really want to give up the Job. After the 1 968 election, though, he announced that if Roger Stevens was not reappointed by the new Administration he would resign, and that's what happened. Nothing would please him more now than to be appointed to the National Endowment's ad visory board. As he often says, "What I really like to do best is give away money." While Geldzahler was on leave from the Metropolitan, he was also in- vited to serve as commissioner for the United States pavilion at the Venice Biennale, the oldest and most highly re- garded of all the big international art exhibitions. The offer came about in a rather backhanded way: The National Collection in Washington, which spon- sors United States participation in these affairs, had originally invited Lawrence Alloway, a curator at the Guggen- heIm (and the British critic who coined the term "Pop Art"), to select and in- stall the American exhibition in Venice. Alloway and Thomas Messer, the Guggenheim's director, got into a pub- lic dispute over which artists they want- ed to show, however, and the National Collection thereupon rescinded the commission and offered it to Geldzah- ler. Naturally, he accepted. Just as naturally, the art world assulned that E CARIBBEAN CRUISE à la PAQUET On a Paquet ship, theres a corps of charming girls to see that you meet people, or teach you French, or show you the good places to shop. .. :: >-Ø ::.: ^ :; :' fl r ^. ',. > \ \; . 1, '-;tTL:.!' ?:.J:..) ,t , '< ' :.. v..: :: ,::. . _ ;' ", :' v .. "'":-v . t, ,^, J ":' t , , -. v" , <" ' d '\ \.. ", \ ' :: ,. {:' ... ^ ...... ",>"" -. N ';;iioi<' ' -.... v ': 1 "':;: . ....ý.-O'. " ,.>' ,: :' '. "." .,' ....... .: . :-.. '::S: ':; , ? , : :: : 'f, ...... < ....-: . t - .,.h J \ ..... ,,\$ " , " ,'\, ...: . .: v"" :"'* ,.... "' , , '':!:'' } ?" $ 0(-:: 1 .. i: :::: .:'-'x, . . '. If you appreciate warm intimate French ambiance, a reverence for good food and wine, laissez-faire enjoyment, people you'd like to come to dinner when you're back, and places to visit besides just the famous places - then you II love cruising our way, that is, à la Paquet. CRUISING FROM PORT EVERGLADES, FLORIDA THE RENAISSANCE Dec. 10. 8 days, 4 ports, from $225 to $825. Dec. 18. Christmas Cruise, 15 days, 8 ports, from $585 to $2015 Jan. 3. 12 days, 7 ports, from $370 to $1335. March 2. 14 days, 7 ports, from $475 to $1710 March 16. 12 days 7 ports, from $400 to $1435 Jan 16. Around South America, 45 days, 16 ports, from $1765 to $5350. THE MERMOZ Dec. 19. Christmas Cruise, 14 days, 8 ports from $535 to $1310 Jan. 3. 10 days, 5 ports, from $310 to $755. Jan. 13. 11 days, 5 ports, from $375 to $915. Jan. 25. 12 days, 7 ports from $450 to $1100. Feb. 6. Carnival Cruise, 14 days, 8 ports, from $535 to $1310 Feb. 21. 12 days, 7 ports, from $450 to $1100. All rates per person-double occupancy. THE RENAISSANCE AND MERMOZ ARE REGISTERED IN FRANCE [CJLlNESCJ] RENOWNED OVER A CENTURY Let us know the departure dates and the ship you re interested in. We'll send you a folder telling you all about your cruise. For reservations see your travel agent or Mediterranean French Companies Inc. Owners Representative, 119 W. 57th St., N. Y., N. Y. 10019 (212) 765-0670. French Line, General Agents United tates (except New York), and Mexico.